LA ÓPERA ESPAÑOLA (SPANISH OPERA)
An Introduction to the Hidden Jewels of Spanish Through-sung Opera.
Spanish through-sung opera has, until recently, been largely neglected both inside and outside of Spain. It is our desire that these "hidden jewels' become better know and receive their well-merited attention.
THE SEARCH FOR A NATIONAL OPERATIC IDENTITY
The task of creating Spanish opera in a musical environment which was hostile and critical has been a consternation and challenge for almost every Spanish composer with a desire to create a Spanish national operatic identity. Although there are a variety of musical theater forms in Spain's past, such as zarzuelas and tonadillas, genres which are combinations of music, dance and spoken dialogue similar to American Musical Theater, there exists a whole little-known world of Spanish through-sung opera.
The purpose of my investigation is to bring to light these neglected works through the presentation of the history of the development of this genre, the different composers, languages, styles and musical influences used in its composition.
NATIONALISM VERSUS REGIONAL INFLUENCES
Spain is an amalgamation of various cultures and languages. The country is comprised of a number of distinct regions. These separate regions were united under duress through a series of wars and treaties, even though each region has a distinct identity in matters of culture, politics and even, in some cases, languages.
In general, northern Spain was more influenced by neighboring Europe, with a Celtic and Roman origin. The far south of Spain had its origin in cultures from Phoenicia, Greece, the Middle East and Africa.
This rich cultural backdrop has provided Spanish composers with a broad musical and ethnic heritage that has been incorporated into their operas.
THE OPERAS
A SAMPLING OF SPANISH OPERAS, THEIR LANGUAGES AND REGIONS
Isaac Albéniz
Pepita Jiménez (English, Andalucía)
Merlin (English)
Emilio Arrieta
Ildegonda (Italian)
La Conquista di Granata (Italian)
Marina (Castilian)
Tomás Bretón
La Dolores (Castilian)
Los Amantes de Teruel (Castilian)
Ramón Carnicer
Don Giovanni Tenorio (Italian)
Cristóforo Colombo (Italian)
Manuel de Falla
La Vida Breve (Castilian, Andalucía)
El Retablo de Maese Pedro (Castilian)
Manuel García
Il califfo di Bagdad (Italian)
La donzella de Raab (Italian)
Roberto Gerhard
The Duenna (English, Andalucía)
José Melchor Gomis
Le revenant (French)
Enrique Granados
Maria del Carmen (Castilian, Murcia)
Goyescas (Castilian)
Felipe Pedrell
Els Pirineus (Los Pirineos) (Catalán, Catalunya)
Manuel Penella
El Gato Montés (Castilian with strong Andalusian accent, Andalucía)
Joaquín Turina
Margot (Castilian )
Jardín de Oriente (Castilian)
The task of creating Spanish opera in a musical environment which was hostile and critical has been a consternation and challenge for almost every Spanish composer with a desire to create a Spanish national operatic identity. Although there are a variety of musical theater forms in Spain's past, such as zarzuelas and tonadillas, genres which are combinations of music, dance and spoken dialogue similar to American Musical Theater, there exists a whole little-known world of Spanish through-sung opera.
The purpose of my investigation is to bring to light these neglected works through the presentation of the history of the development of this genre, the different composers, languages, styles and musical influences used in its composition.
NATIONALISM VERSUS REGIONAL INFLUENCES
Spain is an amalgamation of various cultures and languages. The country is comprised of a number of distinct regions. These separate regions were united under duress through a series of wars and treaties, even though each region has a distinct identity in matters of culture, politics and even, in some cases, languages.
In general, northern Spain was more influenced by neighboring Europe, with a Celtic and Roman origin. The far south of Spain had its origin in cultures from Phoenicia, Greece, the Middle East and Africa.
This rich cultural backdrop has provided Spanish composers with a broad musical and ethnic heritage that has been incorporated into their operas.
THE OPERAS
A SAMPLING OF SPANISH OPERAS, THEIR LANGUAGES AND REGIONS
Isaac Albéniz
Pepita Jiménez (English, Andalucía)
Merlin (English)
Emilio Arrieta
Ildegonda (Italian)
La Conquista di Granata (Italian)
Marina (Castilian)
Tomás Bretón
La Dolores (Castilian)
Los Amantes de Teruel (Castilian)
Ramón Carnicer
Don Giovanni Tenorio (Italian)
Cristóforo Colombo (Italian)
Manuel de Falla
La Vida Breve (Castilian, Andalucía)
El Retablo de Maese Pedro (Castilian)
Manuel García
Il califfo di Bagdad (Italian)
La donzella de Raab (Italian)
Roberto Gerhard
The Duenna (English, Andalucía)
José Melchor Gomis
Le revenant (French)
Enrique Granados
Maria del Carmen (Castilian, Murcia)
Goyescas (Castilian)
Felipe Pedrell
Els Pirineus (Los Pirineos) (Catalán, Catalunya)
Manuel Penella
El Gato Montés (Castilian with strong Andalusian accent, Andalucía)
Joaquín Turina
Margot (Castilian )
Jardín de Oriente (Castilian)
